For 2,089 reviews, this critic has graded:
  • 50% higher than the average critic
  • 2% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 0.8 points higher than other critics. (0-100 point scale)

A.O. Scott's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Hot Tub Time Machine
Lowest review score: 0 MacGruber
Score distribution:
2089 movie reviews
    • 66 Metascore
    • 60 A.O. Scott
    Men
    The movie, an uneasy amalgam of horror and allegory, full of creepy, gory effects and literary and mythological allusions, amounts to a sustained and specific indictment of the titular gender.
    • tbd Metascore
    • 100 A.O. Scott
    Its criticisms of patriarchal authority, bureaucratic corruption and superstition in rural India are sharp and unsparing, but its political themes are embedded in a humanism that is at once expansive and specific. The characters don’t deliver a message; their lives are the message.
    • 74 Metascore
    • 90 A.O. Scott
    Frammartino connects the physical with the metaphysical. The world as he renders it is an anthology of concrete objects and unrepeatable moments that are somehow infused with abstract, even spiritual meanings.
    • 60 Metascore
    • 40 A.O. Scott
    There isn’t much of a love story here. There isn’t much of anything, even as there’s too much of everything.
    • 82 Metascore
    • 90 A.O. Scott
    Among the comforts Vortex refuses is the bittersweet balm of nostalgia. It’s a blunt reckoning with the inevitability of loss, including the loss of memory. We dream for a while, and then we sleep.
    • 91 Metascore
    • 100 A.O. Scott
    What makes Hit the Road so memorable and devastating is the way it explores normal life under duress.
    • 82 Metascore
    • 80 A.O. Scott
    What’s perhaps most impressive about The Northman is that it hurtles through 136 minutes of musclebound, shaggy-maned mayhem without a whisper of camp or a wink of irony. Nobody is doing this for fun. Even if, in the end — thank goodness — that’s mostly what it amounts to.
    • 77 Metascore
    • 70 A.O. Scott
    In the tradition of internet science fiction, “World’s Fair” teases the boundary between the actual and the virtual, though in a frame of mind that is quietly ruminative rather than wildly speculative.
    • 78 Metascore
    • 90 A.O. Scott
    Donbass, at once brutally satirical and grimly compassionate, focuses on the subtleties and grotesqueries of human behavior. Loznitsa paints sprawling tableaus of cruelty, corruption, vulgarity and lies through a series of intimate vignettes.
    • 55 Metascore
    • 60 A.O. Scott
    Bay’s virtuosic flouting of the laws of physics, probability and narrative coherence is meant to catapult you into a zone of sublimity where melodramatic emotion and adrenalized excitement fuse into a whole new kind of sensation.
    • 79 Metascore
    • 80 A.O. Scott
    Apollo 10½ is more a modest memoir than a whiz-bang space epic. Its view of the past is doggedly rose-colored, with social and emotional rough edges smoothed away by the passage of time and the filmmaker’s genial temperament.
    • 83 Metascore
    • 100 A.O. Scott
    Loznitsa has assembled a wrenching and revelatory collage.
    • 66 Metascore
    • 50 A.O. Scott
    Mothering Sunday never conveys the intensity of erotic passion, the ardor of creative ambition or the agony of grief. Even though it is ostensibly about all of those feelings, it handles them with a tastefulness that is hard to distinguish from complacency.
    • 81 Metascore
    • 100 A.O. Scott
    The movie is a metaphysical multiverse galaxy-brain head trip, but deep down — and also right on the surface — it’s a bittersweet domestic drama, a marital comedy, a story of immigrant striving and a hurt-filled ballad of mother-daughter love.
    • 79 Metascore
    • 80 A.O. Scott
    There’s no doubt that this is, in several senses, a personal film. But that doesn’t mean that the character is simply the author’s mouthpiece; one of the things that gives this movie its raw, unbalanced energy is the indeterminacy of the distance between them.
    • 78 Metascore
    • 100 A.O. Scott
    X
    X is a clever and exuberant throwback to a less innocent time, when movies could be naughty, disreputable and idiosyncratic.
    • tbd Metascore
    • 60 A.O. Scott
    The director, Ivaylo Hristov, is adept at slow-burning suspense and comic misdirection.
    • 72 Metascore
    • 70 A.O. Scott
    I can’t say I had a good time, but I did end up somewhere I didn’t expect to be: looking forward to the next chapter.
    • 92 Metascore
    • 100 A.O. Scott
    This isn’t a heroic-teacher drama about idealism in the face of adversity. It’s an acknowledgment of the hard work of learning, and the magic of simple decency.
    • 66 Metascore
    • 60 A.O. Scott
    From the moment Cyrano enters the action, his charisma and intelligence are on splendid display, and Dinklage — jaunty, melancholy, sly — takes possession of the movie. But that means that the argument on which the drama depends is over before it has even begun.
    • 65 Metascore
    • 70 A.O. Scott
    This isn’t “Lucio for Beginners” by any means. Nor is it a greatest-hits anthology or a “behind the music” tell-all. It’s a tribute and an invitation to further research.
    • 61 Metascore
    • 60 A.O. Scott
    Dog
    Dog is unabashedly sentimental. A movie about a dog and a soldier could hardly be otherwise. Luckily, Tatum’s self-deprecating charm and Carolin’s script keep the story on the tolerable side of maudlin.
    • 71 Metascore
    • 60 A.O. Scott
    The nexus of racism, patriarchal power and sexual exploitation gives Catch the Fair One a pulse of righteous anger, and Reis’s charisma — her willingness to show fear as well as resolve — makes Kaylee a magnetic protagonist.
    • 90 Metascore
    • 90 A.O. Scott
    If The Worst Person in the World is about Julie’s indecision, it’s also about Trier’s ambivalence. Some of the suspense in the film comes from wondering what he will do with her, and whether, as much as he loves her, he can figure out how to set her free.
    • 76 Metascore
    • 90 A.O. Scott
    Anyone with a heart will be stirred by the generous, critical, humanist spirit shared by the kids in front of the camera and the grown-ups on the other side.
    • 77 Metascore
    • 80 A.O. Scott
    Shot in black and white (with Hong serving, for the first time, as cinematographer) and clocking in at a little more than an hour, Introduction is both lucid and elusive.
    • 82 Metascore
    • 90 A.O. Scott
    Nothing in this stressful, intricately plotted fable of modern life is as simple as we or the characters might wish.
    • 88 Metascore
    • 90 A.O. Scott
    The central plot of Parallel Mothers is vintage Almodóvar: a skein of reversals, revelations, surprises and coincidences unraveled with style, wit and feeling.
    • 91 Metascore
    • 100 A.O. Scott
    Every scene unfolds with quiet, meticulous clarity, but Weerasethakul’s luminous precision only deepens the mystery.
    • 87 Metascore
    • 90 A.O. Scott
    There is no comfort in Coen’s vision, but his rigor — and Washington’s vigor — are never less than exhilarating.

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